The Unseen Struggles of Disabled LGBTQ+ Fans in the Music Industry
BY KATHERINE CHUNG (SHE/HER)“There’s so many types of art; and there’s so many blind people that are creating incredible works of art. And so I know that the spirit of creativity cannot be dampered by vision loss. By any sort of disability or obstacle. And this translates to every human being on the planet. You don’t even have a classified disability. We all have challenges. We all have things we need to pursue our dreams.” - Paul Castle, queer visual artist @paulcastlestudios
Paul, who identifies as queer and disabled, represents a broader trend. According to a recent Human Rights Campaign survey, 36% of LGBTQ, 52% of transgender, and 35% of cisgender LGBTQ individuals reported having a disability. This data surpasses the 24% of non-LGBTQ individuals who identify as disabled. Additionally, in a Respectability article, they found that more than ⅓ of LGBTQ adults identified as disabled in 2018. In 2023, the percentage is probably higher, we just don’t have the data yet.
Creating art as an LGBTQ individual has become more accessible, but fans who identify as LGBTQ and disabled encounter challenges, particularly when seeking to experience art forms such as live music due to inaccessibility and staff discrimination.
Since the 1970s, live music has played a pivotal role in promoting acceptance within the queer community. Notable queer vocalists and musicians, such as Freddie Mercury, who was diagnosed with AIDS, contributed significantly to the queer live music industry community. Despite the Americans with Disabilities Act not being signed until 1990, Mercury's impact was noteworthy.
In the 1970s, the idea of ensuring diversity and accessibility in live music venues was not a priority. Ticketmaster, Vivid Seats, and StubHub did not exist; and concert venues were primarily bars, restaurants, or rental spaces. The acknowledgment of AIDS as a disability only gained traction in the 1980s when benefits were initiated.
In contemporary times, establishments like pride parades, queer bars, concert venues, museums, and restaurants that assert LGBTQ and accessibility friendliness often fall short of their claims. A musician based in Montreal expressed the difficulty, stating, "It's really hard to find information about whether or not a venue is accessible. You'll call 1000 places and ask what their accessibility features are because they're not listed on their website or on Facebook." Even widely-used platforms like HalfAcsess, TripAdvisor, and Yelp lack comprehensive information regarding venue accessibility features, as highlighted in a recent VICE article.
Venues and ticketing companies often provide unclear information about accessibility features, with ADA seats typically placed in less desirable locations like balconies or behind obstacles. This creates barriers between fans and artists. Additionally, individuals with a disability and from the queer community frequently encounter discrimination at events, as venue staff show bias based on appearance rather than considering medical diagnoses. One example of this is when Chloé Hayden, known for her role in the Netflix comedy Heartbreak High, faced accessibility challenges during Harry Styles' Australian 'Love on Tour.' Despite her notable performance and being autistic, Chloé shared on social media her experience of being accused of not appearing "autistic enough" to access a sensory room at Marvel Stadium. She also encountered discriminatory comments from venue staff regarding accessible facilities, broken lifts, mental health concerns, and fat-shaming. These issues, which should have been addressed beforehand, prompted a swift response from fans sharing similar stories of venue staff mistreating disabled individuals. Despite Harry Styles' shows promoting love, equality, and acceptance, Chloé and others were disappointed by the treatment they received from venue staff at several of his concerts during his second solo tour, ‘Love On Tour’.
Additionally, queer bars and clubs showcasing LGBTQ visual arts and live performances often lack accessibility information. Rylee Seutter, a wheelchair user, frequently performs at inaccessible Canadian queer-friendly nightclubs, requiring assistance to navigate stairs, causing discomfort. In a recent CBC News article, he emphasized, "I don't see my wheelchair as something that has ever held me back. It's something that has helped me and empowered me so much to do what I want in life." He also states in this CBS article that he has to be carried down the stairs on his bum by a stranger. Like Paul Castle, he faces challenges and has goals, such as performing at every queer nightclub in Canada or a stadium. He shouldn't have to encounter discrimination and barriers to achieve his goals.
Similarly, pride parades pose challenges for LGBTQ fans wishing to enjoy performances by their favorite artists. Az Franco, an artist, writer, and queer individual, can attest to this. In his blog post on LucyandYak,[b] he discusses how parades, being lengthy and inaccessible for wheelchair users, fail to accommodate deaf or hard-of-hearing individuals and can be overwhelming in terms of sensory stimulation. These issues highlight the dual discrimination faced by LGBTQ+ disabled individuals during pride parades, extending even to beauty standards for neurodivergent attendees.
Acknowledging the unique challenges faced by disabled LGBTQ individuals is crucial. It is important to address the dual discrimination they often encounter. These fans’ and creators’ stories are examples of dual discrimination.
In a 2022 CAP study, they found that “Nearly half of LGBTQI+ people of color and LGBTQI+ people with disabilities, more than half of transgender or nonbinary individuals, and 2 in 3 intersex individuals also reported experiencing some form of discrimination in the past year.” With that being said, awareness, particularly among individuals working in live music venues, needs to extend to accessibility issues. For those identifying as LGBTQ, music holds significance as a means of self-expression, representation, visibility, activism, and challenging stereotypes.
These are some recommendations for venue staff: familiarize yourselves with disability rights and accommodations, use person-first language, correct pronouns, and speak up if you observe any issues within the ADA section. While many fans acknowledge that older venues may have inherent accessibility challenges, installing metal or wooden ramps in smaller venues, such as queer-friendly bars, could significantly improve accessibility.
Advocating for a more inclusive live music experience for disabled and LGBTQ fans encompasses diverse strategies. Among the challenges faced by fans, obstructed views stand out as one of the most frustrating experiences. Hence, it is recommended to explore options such as relocating the ADA section or rethinking seating arrangements for disabled individuals. While it may not be feasible to eliminate all accessibility and discrimination issues, the most constructive approach is to educate oneself on the subject. Furthermore, these resources can support staff and enthusiasts at live music venues in developing a more profound understanding of how to improve accommodations for individuals with disabilities.
RESOURCES
-ADA concert venue compliances
- Accessible Festivals (Making Festivals More Accessible)
- Coachella Accessibility (suggestions from disabled Coachella fans)
- New Mobility Magazine article (Making Music Festivals More Accessible)
-Kulture City (Sensory accessibility and invisible disability packages and concert partnerships)
- Half Access (Similar to Yelp but for disabled concertgoers to find venue information)
-Attitude is Everything (connecting disabled fans to live music events and organizations, international)
LGBTQ people with disabilities GLAAD Media Reference [d]